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R473 



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'"' ' '5AKCR'3 Edition 

or PL7\Y3 



WINNING WAYS. 




COPVKiGHT, 1&89, BY WALT ^H H. BAKER & CO- 



(fs fas 

tA, W. PINERO'S PLAYS Jl 



Uniformly Bound in Stiff Paper Covers, 
Price, 50 cents each. 



/IS 

I 

fh 

k 

/IS 
<<> 

ftTI^ need description, "it is especially recommended to young ladies' schools and ^|' 
Vf colleges. (1895.) \v 

Sf/ Mi 

Sji) THE CABINET MINISTER.! iJSl^^!p^o''?enu^ VI 



The publication of the plays of this popular author, made feasible by the new 
Copyright Act, under which his valuable stage rights «an be fully protected, 
enables us to otfer to amateur actors a series of modern pieces of the highest 
class, all of which have met with distinguished success in the leading Phiglish 
and American theatres, and most of .which are singularly well adapted for ama- 
teur performance. This publication was originally intended for the benefit of 
readers only, but the increasing demand for the plays for acting purposes has 
far outrun their merely literary success. With the idea of placing this excel- 
lent series within the reach of the largest possible number of amateur clubs, we 
have obtained authority to offer them for acting purposes at an author's roy- 
alty of 

Ten Dollars for Each Performance. 

This rate does not apply to jyrofessional performances, for which terms will be 
made known on application. 



THE AMAZONS. 



A Fnrcical Romance in Three Acts. By Arthur 
W. PiNEUo. SeveU male and five feinale char- 
acters. Costumes, modern; scenery, an exterior 
and an interior, not at all difficult. This "admirable farce is too well known 
through its recent perforniance by the Lyceum Theatre Company, New York, to 



^1^ — * and nine female , characters, ^i 

Mr Costumes, modern society ; scenery, three interiors. A very amusing piece, in- w 

^|> genious in construction, and brilliant in dialogue. (1892.) iTJj 

V/ Tj AlM'nV" FiK^lC I "^ Farce in Three Acts. By Arthtr W. Pixero. V 
i^'t\xSLJ i. lJ1\^i\.» \ geven male, four female characters. Costumes, mod- C\m 
' ern ; scenery, two interiors. This very amusing piece V 

fwas another success in the New York and Boston theatres, and has been ex- iT j 

tensively plaved from manuscript by amateurs, for whom it is in every respect V 

suited. It provitles an unusual number of capital character parts, is very funny, ^| 

and an excellent acting piece. Plays two hours and a half. (1893.) y 

^\'m tut? T4TM5T3V U/^PCCT I A Comedy in Three Acts, By Arthur ^k\ 

Vf ^•"-*^ riKJDDX rLKjr^O£L* \ w. PiNERO. Ten male, five female char- \f/ 

1**^ •* acters. Scenery, two interiors and an ex- ^|' 

\l^ terior; costumes, modern. This piece is best known in this country through the \f/ 

^ij admirable performance of Mr. John Hare, who produced it in all the principal ^i* 

yjf cities. Its story i)resents a clever sa.tire of false philanthropy, and is full of \ff 

^i% interest and liumor. AVell adapted for amateurs, by whom it has been success- ^|' 

\ff fully acted. Plays two hours and a half. (1892.) \f/ 

y/ T ATlV RriT TTyTrPT TT I ^ P^^'^Y •'" Four Acts. Bv Arthur AV. yj, 

W '^^^^^ OV^UiN lirui^* Pinero. Eight male and seven female char- iL 

jj^ ' acters. Costumes, mo\lern ; scener-y, four ^J' 

%■# iiit^ii*^''''! "'^t easy. A play of powerful sympathetic interest, x little sombre in Vii 

V^ key, but not luuelieved by humorous touches. (1892.) w 

»»/ ' \\i 



Winning Ways 



A Farce in One Act 



By WALTER F. RICE 



BOSTON 
WALTER H. BAKER & CO 

1900 



^ wo COPIES RECEiVEO. 






"2^' 



1900 



Winning Ways 



CHARACTERS 



Thomas Lee 

Benjamin Lee, 

Mr. Leigh, '\ 

Percy Knulle, > 
Miss Merrimaid, ) 

Mrs. Thomas Lee 



55960 



Tom'' s father 
Who cause all the trouble 



Copyright, 1899, by Walter H. Baker & Co. 




Winning Ways. 



SCENE. — Reception room, St. James Hotel, New York. Time, 
forenoon. Mr. and Mrs. Thomas Lee enter in traveling 
dress. 

Thomas. Well, dear, here we are again. Exit romance, 
enter grim realism. 

Mrs. Lee. Did you register ? 

Tom. Yes, and with discriminate ordering and a slight 
curtailment in tips, I think we may be able to sojourn here 
for two days. (^Draws a bill from his pocket.') This twenty 
is all that stands between us and penury. 

Mrs. Lee. That comes of quarreling with your father and 
marrying — for love. What are you going to do, Tom ? 

Tom. Find work and a flat. We may as well go about the 
latter at once. 

Mrs. Lee. And give up your career ? Oh, Tom, I always 
thought you had such a judicial mind, and now you talk like a 
dunce. 

Tom. I'm very sorry for your sake, Florence, but it's all 
father's fault. He was very quick-tempered and unreasonable ; 
said I was too young to marry and all that sort of thing. If he 
could only see you, dear, he'd understand. Don't worry, I 
will support you. {^Embracing her.) 

Mrs. Lee. Yes, Tom, but you needn't — now. Please re- 
member that this is a public place and others may come in at 
any moment. 

Tom {releasing her). Let them come. Let the guests all 
file through 

Florence. Tom ! 

Tom. Until their appetite for newly married couples has 
become utterly and permanently satiated ! 

Florence {pickittg up a newspaper). Really, Tom, I think 
we've become quite notorious enough already. You should 
read that ! 

Tom. Never mind, I can read the headlines over here — 



4 WINNING WAYS. 

and imagine the rest. It would be more consistent with our 
present needs, dear, to read the "Flats to Let" column. 

Florence. No, Tom, I've thought it all over and you must 
go to your father and apologize. 

Tom. Apologize ! For what ? For marrying the dearest 
little girl in the world ? Not much ! Oh, I can work. I'd 
rather be a street sweeper and have you 

Florence. Don't, Tom, please ! Anything but that ! 
Not that I am socially ambitious, but white duck is so unbe- 
coming to you ! 

Tom. Well, I'll give that up if you insist. Can you sug- 
gest something better? I'll do anything you say. 

Florence. Then let me go to your father. I'm not in the 
least afraid of him. 

Tom. No, I shall never consent to that. 

Florence. Why ? 

Tom. Because it's father's place to come to me. Until he 
does, I can't accept any more help from him. No, Florence, 
I'd rather starve. 

Florence. But you keep forgetting me. I suppose it's 
very unwifely to oppose everything you suggest, but I've al- 
ways had such an aversion to — starving. 

Tom. Well, then we'll give that up. 

Florence. You can't continue your law studies without 
help, Tom, and if you insist upon being foolish and obstinate 
I shall see your father myself — the very first opportunity I 
have. 

Tom. You won't have long to wait. 

Florence. Why ? 

Tom. He's here. 

Florence. Who, your father? 

Tom. Yes, here in the hotel, I mean. I saw him in the 
office as we came in, but I don't think he noticed us. {Looks 
down the hall.) Here he is now, and coming this way. 

Florence. Are you sure ? Quick, Tom, tell me how he 
looks ! You know I never saw him. 

Tom. Oh, medium height — side whiskers — grey 

Florence. That will do. Now you leave him to me. 
Hurry, Tom ! He mustn't see you. I'll run down and let 
you know what success I have as soon as it's over. 

Tom. I don't like this, Florence, he may 

Florence. No, not a word. Let me have my way and I'll 
win him over — {As Tom disappears.) I hope he'll come in 
here. 



t 



WINNING WAYS. 5 

^«/^r Benjamin Y.Y.Y., folloived by Mr. Leigh, 7vho hnmediately 
becomes absorbed in a neivspaper. 

Florence (aside). Two of them ! Both side whiskers and 
grey. Now which one ? 

Benjamin Lee (Jo himself walking tcp and dowii). Not a 
word from Tom since he was married — married without my 
consent, too, the young beggar ! House lonely as a tomb. 
Been staying here three days hoping to get a glimpse of him. 
Confound him ! I'll run down and take another look at the 
register. \_Exit. 

Florence {to herself as Benj. Lee disappears). Dear 
me ! What a nervous old gentleman ! Fm sure he wasn't the 
one. No, he's not the least like Tom. This must be he. 
{J)raws nearer.) Oh, how shall I introduce myself? {Aloud.) 
I — I beg your pardon, sir, am I addressing Mr. Lee ? 

Mr. Leigh {politely rising and laying aside his paper). 
You are, madam. 

Florence {aside). There ! I knew it ! {Aloud.) I — er 
— I wished to speak to you a moment about — about your son. 

Mr. Leigh {gravely). Son? I have no son, madam ! 

Florence {aside). How bitter he is ! {Aloud.) So it 
seems to you nbw, sir, but you might have one if you could 
only forget the past and — feel that you had a new daughter. 

Mr. Leigh {aside). Son — forget the past — new daughter — 
{Aloud.) Pardon me, madam, but will you kindly inform me 
of whom you are speaking ? 

Florence {entreatingly). Why, of your boy. Lideed, I 
might almost say, our boy. Didn't I tell you ? I am Mrs. 
Lee, you know. 

Mr. Leigh {aside). Good heavens ! She imagines herself 
my wife ! 

Florence {sweetly). Yes, you are my father now, you see. 

Mr. Leigh (aside). Husband ! Father ! FU be her great- 
aunt in a minute. Doing pretty well for a bachelor. What a 
strange hallucination, and so young, too ! I must humor her. 
{Aloud.) Oh, yes, now I see. Fm afraid Fm getting to be a 
very dull old fellow. You are my daughter — my new daughter. 

Florence (triumphantly). There ! You do admit it, and 
you are not angry, either. Oh, Fm so glad. May I get Tom? 

Mr, Leigh (aside). Admit it — get Tom — I don't like that. 
{Aloud.) Oh, yes, get Tom. Get Tom, by all means. By 
the way, where is Tom now ? 

Florence, Why, he was here a moment ago, but he ran 



6 WINNING WAYS. 

away when he saw you. I'm sure you didn't mean to hurt 
Tom, but I'm afraid, Mr. Lee, you did stroke him the wrong 
way — ^just a httle. Have you been here long ? 

Mr. Leigh (aside). Tom must be a cat ! {Aloud?) Oh 
no, you see I — I came down last night. 

Florence. You know I never saw your home — Tom's 
home — Is it far from here ? 

Mr. Leigh {affecting a mysterious air). Sh ! Can you 
keep a secret ? 

Florence. I'll try. 

Mr. Leigh. 'Tis only visible at night. 

Florence. At night ! 

Mr. Leigh. Sh ! I'm the man in the moon, and the spirit 
of men's dreams. 

Florence. Dreams ! 

Mr. Leigh. Welsh rarebit's made of green cheese ! 

Florence {innocently adapting herself to his humor, as she 
supposes and carrying on the joke). Oh, how wonderful ! 

Mr. Leigh. Sh ! And some night you shall return with 
me — you and Tom — on a moonbeam in a tiny chariot all made 
of spiders' webs and drawn by a million little white mice ! 

Florence. Ah, but the mice will eat away the moon and 
we shall perish in the milky way ! 

Mr. Leigh. No. O, no ; you forget Tom. Tom will 
devour the mice and drink the milky way ! 

Florence. Oh, rapture ! You have removed every ob- 
stacle. I do hope, Mr. Lee, you can arrange the trip soon, for 
'twould be such a place for a honeymoon. I'm afraid you 
haven't forgiven Tom, though, or you wouldn't put such a task 
upon him. A million mice is a great many, and you know he 
never takes milk — not even in his coffee. Are you quite sure 
you have forgiven him ? 

Mr. Leigh. Oh, yes, I've forgiven him. Don't let that 
worry you. 

Florence. Then you wait here and I'll bring him right 
up. Now, don't run away! {She pauses on the threshold a 
moment, throws Mr. Leigh a kiss and vanishes.) 

Mr. Leigh {moppijig his brow). There goes the most cap- 
tivating little lunatic I ever met, but I don't believe I'll wait 
for Tom. I understood this was a hotel. It's a madhouse. 

\^Exit. 

Enter Miss Merrimaid, becojningly attired. 
Miss Merrimaid {consulting her watch). Five minutes 



WINNING WAYS. J 

past, and he isn't here. I'm glad of it for I must confess I feel 
a Uttle nervous. Oh dear, I know it's scandalous, but if he 
isn't a perfect gentleman I can leave at once. I wouldn't do it 
except for a wager. {Produces a note and reads.) ''Dear 
Unknown : — Will meet you at place designated Wednesday 
forenoon at ten o'clock for an interview. Wear yellow chrys- 
anthemum." Signed, '' P-O-P-P-E-R," Popper. Popper— 
What a funny pseudonym. Pm glad I brought Cora along for 
a chaperon. I hope she won't get tired waiting. 

Enter Benjamin Lee, rubbing his hands good-hw?ioredJy, 

Benj. Lee (^to himself). Well, Pve found the young 
scamp. Thought I was angry with him for eloping with the 
girl he loved. Ha — ha — ha — Did the same thing myself. 
Would never have forgiven him if he hadn't. Said Pd find 
her here waiting for me. There she is, now. Wants to have 
a talk with me, eh? What a pretty little woman. My daugh- 
ter. Always wanted one, too. {Aloud.) Ahem ! Er — beg 
pardon, madam — er — I might say — my dear 

Miss Merrimaid {aside). This is he, and the advertise- 
ment said thirty-five. My ! the old deceiver ! {Aloud.) You 
might, but I wouldn't — not on such short acquaintance, you 
know. You are late, Mr. — Popper. 

Benj. Lee {aside). Calls me papa — now I like that. 
{Aloud.) That's right, call me papa. But if Pm your father, 
why shouldn't I say ''my dear" ? 

Miss Merrimaid {aside). Really, he's getting facetious. 
{Aloud.) It must occur to you, sir, that you are very different 
from what I had been — led to imagine, 

Benj. Lee {aside). Tom must have told her I was a bear. 
{Aloud.) Well, yes, dear, I suppose I am a little hasty some- 
times \ but I hadn't seen you then, you know. Why, a fellow 
couldn't help eloping with you. Now, do I look angry? 

Miss Merrimaid {aside'). He means to elope with me. 
The wicked old man ! {Aloud.) I may have been indiscreet 
in coming here, sir, but you may as well understand at once 
that I should never think of eloping with any one. 

Benj. Lee. Oh, well, call it what you like, only you are to 
come home with me at once. Tom has agreed to that, you 
know. 

Miss Merrimaid. Has he, indeed ! I should think, Mr — 
Popper, that you would be ashamed of yourself. Where is 
your "curly brown hair " and your " blonde moustache " ? You 
know why I am here. It may have been wrong and foolish. 



8 WINNING WAYS. 

but I didn't expect to be insulted by a man old enough to be 
my grandfather ! 

Benj. Lee {with increasing amazemeni). But, my dear 
young lady, you — you 

Miss Merrimaid. Don't speak to me, Mr. — Popper ! 
You have said quite enough already. Before I go I should like 
you to understand, sir, that I am not the — the adventuress you 
think me 

Benj. Lee (aside). Adventuress ! 

Miss Merrimaid. But a lady — possibly the first lady, Mr. 
— Popper, that you ever had the honor of addressing. 

Benj. Lee. Why, you — you — Oh, if my wife could hear 
this! 

Miss Merrimaid (aside). Married ! Oh, worse and worse ! 
(Aloud.) Don't come near me, sir, or I shall ring. (Tears 
off her chrysanthemum and throws it on the floor.) There ! 
You may find that useful, Mr. — Popper, at your next interview 
with some " Dear Unknown ! " [Exit. 

Benj. Lee. Poor Tom, married to a lunatic, and I must 
tell him. \_Exit. 

Florence (entering alone). Dear me, I wonder where Tom 
can have disappeared to ! I've looked everywhere. And Mr. 
Lee gone, too ! No wonder he got tired waiting. I suppose 
he's gone to find Tom. (Picks up the chrysanthetnum and 
places it in her buttonhole.) What a beauty. Some one was 
very extravagant. 

Percy Knulle enters hastily with his watch in his hand, but 
pauses abruptly o?i perceiving Florence. 

Percy Knulle. Gad ! I was afraid the bird had flown. 
(^Notices the chrysatithemum.) Yes, she's the one, and a peach, 
too ! 

Florence. I do wish he would come, 

Percy Knulle (aside). Wishes I would come ! Oh, I'm a 
winner ! (Aloud.) Er — I beg pardon, Miss — Babby, cable 
cars all tied up — couldn't get a hansom, you know. Ran from 
Fourteenth street — er — warm, isn't it? 

Florence (icily). I don't understand you, sir. My name 
is not Miss Babby. 

Percy Knulle. Oh, that's all right. Babby — name you 
gave, you know. 

Florence (aside). What a queer acting man, and so per- 
sistent. 



i 



WINNING WAYS. 9 

Percy Knulle (ivinking slyly). Did you ever hear of 
"Popper"? 

Florence (aside). Goodness, he must be crazy ! I don't 
dare to offend him until Tom gets here. What shall I say ! 
(Glances toward the door.) Yes, it is quite, in fact — very 
warm, Mr. Popper. 

Percy Knulle (i?i'/^(?). We're getting on ! {Aloud.) Er — 
I say, Miss Babby, let's sit down over here — we can talk easier, 
you know. 

Florence {co7iti)iues glancmg toward the door). You must 
excuse me, Mr. Popper, but I can talk so much easier — stand- 
ing up. (Aside.) What can be keeping him ? 

Percy Knulle. You don't need to stand a mile away, do 
you? Er — I didn't bring a megaphone, you know. (Aside.) 
This is what I call a frappeed tete-a-tete. 

Florence (aside). Hm ! He isn't so crazy, after all ; 
lunatics don't joke that way. (With dignity.) Possibly it 
was my husband you wished to see. He will be here in a 
moment. 

Percy Knulle (aside). Husband ! Whew ! Chrysan- 
themum — St. James — odd coincidence — guess Pd better be off. 
(Aloud.) I beg pardon — appointment somewhere — must have 
been St. Denis — so much alike, you know. Bothersome. 

l^Exit. 

Florence (dropping into a chair). Well, Pm glad he's 
gone! (As Tom enters.) Oh, Tom, where have you been? 
Why, I've looked everywhere. Did you see him — that speci- 
men? 

Tom (aside). Specimen ! She means father. Can it be as 
he said? Oh no, it's too hideous ! 

Florence. Why, Tom, you look glum enough. What's 
the matter ? 

Tom. I've seen him. 

Florence. Who ? 

Tom. father. 

Florence. And I've been wondering where you were. Has 
he told you all about our talk together ? 

Tom. Yes. 

Florence. Well, what do you think of me for a diplomat ? 

Tom. Diplomat ! 

Florence. Well, aren't you glad ? 

Tom. Glad ! 

Florence. Tom, what ails you? Can't you do anything 
but repeat words ? I should think you were a parrot. 



10 WINNING WAYS. 

Tom (aside). Excuse me, Florence, father is very deeply 
hurt. 

Florence. Hurt ! 

Tom. Yes. 

Florence. What about ? 

Tom {aside). What about ! 

Florence. Tom, you haven't had more words with your 
father, have you, after I've smoothed everything all over ? 

Tom {gently). Understand, I don't blame you, dear. I 
dare say father was very unreasonable, but I'm afraid you said 
er — er — ^^more than you thought. 

Florence. I ! And we had such a jolly talk together ! 

Tom. Jolly ! 

Florence. You never told me, Tom, that your father joked 
like that. 

Tom. Joked ! 

Florence. Why, yes, he told the drollest story about a 
trip to the moon. 

Tom (aside). The moon ! 

Florence. On a moonbeam, in a chariot all made of 
spiders' webs and drawn by a million little white mice. 

Tom (aside). Dear little wife, I must be good to her — very 
good to her. 

Florence. And you were to save us from all sorts of im- 
aginary disasters by drinking — what do you think, Tom ? 

Tom (absently). I? I can't imagine, dear. 

Florence. Well, guess ! 

Tom (desperately). Er — er — poison, perhaps. 

Florence. The milky way ! 

Tom. Father said that, did he? 

Florence. All in the gravest and most mysterious manner. 
Then I went out to find you, and when I returned he was 
gone ! 

Tom (aside). It's no use, she believes that. I wonder 
what she imagines she said to father. (Aloud ; gently.) Do 
you remember getting very angry with father, dear ? 

Florence. Angry ! 

Tom. Yes, you imagined father was insulting you, you 
know — do you remember that ? 

Florence. Insulting me ! Why, Tom, are you crazy ? I 
believe you are crazy. It's in the air. The strangest mortal 
just left here, and now you talk as if — Tom, why do you look 
at me in that way ? What has happened — tell me ! 

Tom. Florence, try and think. Don't you remember get- 



WINNING WAYS. 1 1 

ting very angry with father for some fancied insult and asking 
him where his curly brown hair was, or something of the sort ? 
You know I told you he was grey. And then you tore off that 
chrysanthemum and threw it on the floor and left him. Don't 
you remember anything about that, dear ? 

Florence (with a relieved sigh). Oh, Tom, why didn't 
you tell me you were joking? 

Tom (aside). Dear little girl. I can't believe she's unbal- 
anced, and yet, I never saw father so cut up about anything. 
He even spoke of a divorce. (Aloud.) Where are you going, 
Florence ? 

Florence (starting for the door). I'm going to find Mr. 
Lee. 

Tom (taking hold of her arm). No, no, Florence, you 
mustn't. You don't understand. I'm not joking. Father 
told me all this, and more, not five minutes ago. He's so 
much offended that he is going to leave the hotel at once. 
Either you or he, or both of you, or all of us are crazy. We 
must go away, dear, immediately. (Releases her.) 

Florence. Are you serious, Tom ? Your father told you 
that ! 

Tom. Yes, and that you said he was an old man — old 
enough to be your grandfather. Father is very sensitive about 
his age. 

Florence. Called him an old man ! W^hy, if your father 
said that, then it must be that he was joking. 

Tom. I'm afraid not. I never saw father look like that 
when he was joking. 

Florence (aside). Now I think of it, he did act a little 
queer. I wonder if — (Aloud.) Tom, does your father 
ever drink ? 

Tom. No — er — not in that way, Florence, of course not. 

Florence. Where is your father, Tom ? He can explain 
this — he must explain it — it must be a joke or — something. 
Where is he ? 

Tom. Gone by this time, probably. It's all up with us 
now, so far as he is concerned. It was all my fault in sending 
him in to you. 

Florence. Sending him in to me ! Why, Tom, you didn't 
send him in. They came in together after you had left — two 
of them. 

Tom. Two of them ! 

Florence. You know what I mean, two gentlemen, one 
was a funny old 



12 WINNING WAYS. 

Tom (as Benj. Lee enters). Father 1 

Florence (aside). Merciful heavens! What did he say? 

Benj. Lee (advancing cautiously). A\'here is she, Tom ? 

Tom (Ji€ motions Florence to withdraw, but she pays no 
attention and continues to gaze at Benj. Lee /;/ speech/ess as- 
tonishment). What is it, father? 

Benj. Lee (sJiakiyig his son's hand). Tom, my poor boy, 
I'm off in half an hour. Think over what I said, for as I'm 
your father, Tom, she's a shrew — a demoniacal shrew — a 

Tom (^indicating Florence). Father, don't you see? 

Benj. Lee. See what, Tom? 

Tom (/aint/y). My wife '. 

Benj. Lee (staring at Florence). Wife — she — wife 

Florence. He — father : Then — to — whom — did — I — 
throw — that — kiss ? Oh, Tom \ we are disgraced \ (Sinks 
into a chair.) 

Tom (tur7ii}ig from one to the other). What do you mean, 
Florence? Father, can't you speak? Are you petrified? 
Florence— Florence — O, Lord : He was right. She is crazy. 
We are all crazy ! 

(Tom falls into a chair, ivhile his father contifiues staring 
at them both in helpless bewildermeiit.) 



CURTAIN, 



1 



A NEW PATRIOTIC PLAY. 



BROTHER AGAINST BROTHER. 

A Military Drama in Five Acts. 
By BERNARD FRANCIS MOORE. 

Author of "The Rough Rider," "Captain Jack," Etc. 

Nine male, two female characters. A stirring play of strong sym- 
pathetic interest turning upon incidents of the Civil War. The thousands 
who played " The Rough Rider," by the same author, will find a similar 
success in this piece, which is distinguished by the same qualities of 
humor and action. Two strong leading parts, Irish comedy, and a strong 
heavy part ; all other parts effective. Easy to stage, and perfectly suited 
for amateurs, for whom it was specially written. Costumes modern and 
military ; scenery simple but varied. Plays a full evening. 

Price 15 Ceuts. 



SYNOPSIS: 

ACT I.— The Bennett home. "That blamed Irishman." The coniitig 
struggle. "Yes or no." The first rebel captured. A soldier's wife. The 
traitor. A blow and its recoil. The declaration of war. Brother against 

BROTHER. 

ACT II. — The Union camp. The spy. The fortune of war. A secret 
move. In a tight place. Ladies in camp. Cornered. The dispatches. 
The capture. Face to face. 

ACT III. — The court-martial. The weight of evidence. Self-betrayed. 
Alabama Joe, the scout. A life at stake. The whole truth. The tie of 
blood. A brother's testimony. The prisoner's defence. "I am guilty." 
The fate of a spy. Death. 

ACT IV. — The prison cell. Alone with death. A surprise. True love. 
A chance of escape. A strange promise. Brothers and rivals. The trap. 
"The underground route." An impossible condition. "Then die like a dog." 
An interruption. Changing guard. "Now is your time." "I love my coun- 
try, but you are still my brother." The escape. 

ACT V. — Home again. The neglected farm. An Irish-American 
affair. Sentenced. "The first girl you meet." Living or dead. In dis- 
guise. "One slip of the tongue, and I am lost." A disagreable visitor. A 
message from the tomb. "Thank God ! he died like a man with his face to 
the foe." The cup and the lip. "Michael, you have saved my life." A trai- 
tor's death and a patriot's love. The end of all. 



An Old Maid's Wooing. 

A Drama in Two Acts. 

By HARTHA RUSSELL ORNE. 

Author of "The Country School," " A Limb o' the Law," Etc. 

Five male, four female characters. Scene, a single easy interior ; cos- 
tumes modern. Au amusing little play of American rural life, full of 
genuine humor with touches of pathos. The dramatic interest is strong, 
but that of character is even stronger. Easy to play and all the parts 
effective. Acts one hour. 

Price 15 Cents. 



Sent, postpaid, on receipt of price, by 

BAKER, 5 HAMILTON PLACE, BOSTON, MASS. 



A NEW IRISH DRAMA. 



FAUQH=A=BALLAGH 

or, THE WEARING OF THE GREEN. 

A Romantic Irish Play in Three Acts. 

By BERNARD FRANCIS MOORE. 

Author of "Captain Jack," "The Irish Agent," "The Rough Rider," etc. 

Nine male, two female characters. Scenery varied but simple ; cos- 
tumes military and ragged. Another Irish drama in this author's well- 
known and popular style, like its predecessors easy and effective to act, 
and true and sympathetic in its presentation of Irish character. All 
characters effective, both comedy and serious. Plays a full evening. 

Price 95 Cents. 



SYNOPSIS: 

ACT I. — The wearing of the green. The patriot priest. Black Don- 
ald's courtship. The spy. Gerald and Alice. Out of exile. The hour of 
need. The Squire's plot. An unseen witness. The man of the hour. "I 
know that I can trust you." The accusation. A counter plot. To the res- 
cue. The tables turned. The Gkeen above the Red. 

ACT II. — The outlaw's home. An awkward squad. A soldier priest. 
Brother and sister. A discovery. Betrayed by a friend. A good smoke. 
Kitty Callahan and the ghost. Kissing a spirit. An unfortunate substi- 
tute. "Take that for yer throuble." The captured spy. The Squire's danger. 
Alice's escape. "Let us hang the both of them." A halt. Face to face at 
last. The man of God. Good for evil. "The road lies before you — go !" 
The Red above the Green. 

ACT III.— The cabin in the hills. Myles ahead. Another taste of the 
spirit. Kitty's suspicions. The ghost's command. "In order to save 
yer life, I'll marry ye." The eagle and the crow. An unwelcome visitor. 
Offers of peace. The silver lining. The outlaw's wooing. Myles and the 
Squire. "Now will I bust him on the head wid a bit o' rock ? " A free 
pardon. Forgive and forget. Westward ho! The Stars and Stripes ovek 

ALL. 



A Black Trump. 

A "Black-Face" Comedy in Two Acts. 

By DAVIS RISDON. 

Three male, four female characters. Scenery, a simple interior; cos- 
tumes, modern and rough. An entirely unique piece of its kind,— a 
" straight" comedy of light but serious interest, written almost entirely 
for "colored" characters. A very amusing piece, full of characteristic 
darkey humor, its diaiect and character-drawing being wholly excep- 
tional in truth and vigor. Recommended as a downright novelty in enter- 
tainments. Plays an hour. 

Price 15 CentB. 



Senf, postpaid^ on receipt of price, by 

BAKER, 5 HAMILTON PLACE, BOSTON, MASS. 



NEW PLAYS. 



THE MOOHSHIHER'S DAUGHTER. 

A Play of Mountain Life in Three Acts. 

By BERNARD FRANCIS MOORE. 

Author of "The Wrecker's Daughter," "The Rough Rider," etc. 

Five male, three female characters. Scenery very easy ; costumes mod- 
ern and rough. An easy but telling melodrama suited for young people 
who like plenty of " go " and action, and who may have liked this author's 
" Wrecker's Daughter." Easy to get up, cast small and good throughout, 
in all respects suited for amateurs who want to do a little serious acting 
without getting beyond their depths. Plays an hour and three-quarters. 

Price 15 Cents. 



SYNOPSIS: 

ACT I.— Dave Martin's house. Gerald and the gun. The revenue 
men. A bitter past. Father and daughter. A shadow from the grave. 
The confession. "I killed him." The lost wife. "The fairy of the 
mountain." Blarney. The traitor. An enemy in the camp. A double 
motive. The price of liberty. An accidental meeting. "Be warned in 
time." A counter warning. The stranger. " My God, my husband." 
Reunited. 

ACT II.— The cave in the mountains. The midnight raid. " There's 
no such word as fail." Gerald's discovery. Dave's last offence. A Judas's 
kiss. " Too late, too late." After fourteen years. Mother and daughter. 
The " wildcat" still. A generous ganger. " I am here not to capture but 
to save." The counter-mine. For love's sake. Drawing the net. The 
meeting. An infamous bargain. A husband's arm. " Never, you devil ! " 
Foiled. 

ACT III.— In New York. An anniversary. Visions of the past. Mat- 
rimonial schemes. An enemy in the dark. "He may strike through 
those you love." An alliance. For richer and for poorer. Gerald's uncle. 
The serpent on the hearth. Chloroformed. Just in time. " Your bullet 
pierced his heart." Revenged. 



The Man From Texas. 

' A Farce in One Act. 

By BERNARD FRANCIS MOORE. 

Two male, two female characters. Costumes modern ; scenery simple. 
An easy and amusing slap-dash farce for young people. The " Texan 
desperado "is a capital part. Plays twenty-five minutes. 

Price 15 Cents. 



Sentf postpaid^ on receipt of price ^ by 

BAKER, 5 HAMILTON PLACE, BOSTON, MASS. 



NEW PLAY5. 



^ DOWN EAST t. 

A Comedy-Drama in Four Acts. 

By JUSTIN ADAMS. 

Author of "T'Tiss," "At the Picket Line," Etc. 

Seven male, three female characters. Costumes rustic ; scenery varied, 
but not difficult. An excellent piece, full of action and interest, of the 
general character of " Joshua Whitcomb " and " Old Je.i Prouty." Plenty 
of "hay-seed" comedy character, and i)lays briskly and to plenty of 
laughter. Has been successful in repertoire for several seasons, and for 
two years with amateurs as a manuscript play. Now free to amateurs of 
all royalties. Plays a full evening. 

Price 2.5 Cents. 



SYNOPSIS: 

ACT I.— The country post=office. Swapstown gossip. After the mail. 
Zeke's mare. A bicycle accident. A dog-muzzle for Deacon Perkins. 
" Do you want your whiskers to go inside or hang through?" Myra's 
lover. "A peck o' flour." Charley's uncle. A fortune in sight. The un- 
sealed letter. The grocery bill. "There's trickery here!" 

ACT II.— The old homestead. Hard wood. "A nice piece ob Avater- 
million." A game for $50,000 stakes. The stolen letter. "Some one knows 
my secret." A languid lover. The naked truth. A human snake. The 
straight tij). A golden legacy. Turning the tables. The new will. 
•'Possession is nine points of the law." 

ACT III. — The ruined mill. Hiding the treasure. An interview. 
Turning the screws. The biter bit. Third hand high. The steel trap. 
A true heroine. "Wash" and the ghost. "Of two evils choose neither." 
Guilty or not guilty. The trial. A neat turn. "I've caught the thieving 
rat, and there he is." 

ACT IV. — The Palmer House, Chicago. A secret mission. A fly w^aiter. 
•'I could change it if it was a six-dollar bill." The ball rolling. The de- 
serted wife. The mask off. A champion to the rescue. "Don't shoot — 
my hands are xip." Zeke and the "elephant" The coochee-coochee girls. 
The divorce. The Ferris wheel. Charley pays his " Bets." "A rich man 
now." Into the trap. The arrest. "No, Bets, for a lifetime, as they do 
"Down East." 

Sauce for the Qoose. 

A Farce in One Act. 
By MARGARET VERE F. LIVINGSTON. 

Three male, one female character. A high-class farce full of refined 
fun, turning ui)on "hypnotism." Plays briskly in about twenty minutes. 
Particularly suitable for parlor performance. 

Price 15 Cents. 



Senty postpaid^ on receipt of price, by 

BAKER, 5 HAMILTON PLACE, BOSTON, MASS. 



" " ' 

ilv THE MAGISTRATE. I ^,^?r,?f '^J'r"^''^,*''/'''^?"",'"'- 

fmy -FiMaio. Iwelve male, four teiiiale char- 
acters. Costumes, modern; scenery, all 
interior. The merits of this excellent and amusing piece, one of the most popu- 
lar of its Jiulhor's plays, are well attested by long and repeated runs in the 
^ principal American theatres. It is of the highest class of dramatic writing, and 
jki is uproariously funny, and at the same time unexceptionable in tone. Its entire 
^i^ suitability for amateur performance has been shown by hundreds of such pro- 
*'• ductions froin manuscript during the past three years. Flavs two hours and 
a half. (1892.) 



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THE NOTORIOUS 
MRS. EBBSMITH. 



A Drama in Four Acts. By Arthur W. 
PiNERO. Eight male aiKl five female charac- 
ters; scenery, all interiors. This is a " prob- 
lem " play contin uing the series to which •' The 
Profligate " and "The Second Mrs. Tanqueiay" 



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jW belong, and while strongly dramatic, and intensely interesting is not suited for 
^13 amateur performance. It is recommended for Heading Clubs. (1895.) 

•'* THF PROFT TfiATF I APlay in Four Acts. By Arthur W.Pine- 
X 1 J.J^ X xvv-rx x-xvjr^ X x-» j^,-,^ Seven male and five female characters. 

' Scenery, three interiors, rather elaborate ; 

costumes, modern. This is a piece of serious interest, powerfully dramatic in 
movement, and tragic in its event. An admirable play, but not suited for ama- 
teur performance. (1892.) 



T'lJ-p QCHOOT MT^TRFS^ f a Farce in Three Acts. By art mR 
1 nc >>V^nV^^l.iV110 l I^J1>^D> | ^y Pi>eho. Kine male, seven fe- 

. male characters. Costumes, mod- 
ern ; scenery, three interiors, easily arranged. This ingenious ar.d laughable 
farce was played by Miss Rosina Vokes during her last season in America Mith 
great success. Its plot is amusing, its action rapid and full of incident, its dia- 
logue brilliant, and its scheme of character especially rich in quaint and humor- 
ous types. The Hon. VereQueckett and Peggy are especially strong. The piece 
is in all respects suitable for amateurs. (1894.) 



THE SECOND 
MRS. TANQUERAY. 



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A Play in Four Acts. By Arthur W. 
PiNERO. Eight male and live female char- 
acters. Costumes, modern ; scenery, three 
interiors. This well-knoWn and powerful 
play is not well suited for amateur per- 
formance. It is offered to Mr. Pinero's admirers among the reading public in 
answer to the demand which its wide discussion as an acted play has created. 
(1894.) Also in Cloth, $1.00. 

^WFFT T AVF1MT>FP I a Comedy in Three Acts. By Arthur 
^J W x^XL X l^rs. V n^^LJSZJ:^* [ ^ PI^ERu. Seven male and four female 
—^■^^—^-^—^——^——^'—'^—^ characters. Scene, a single interior, the 
same for all three acts: costumes, modern and fashionable. This well known 
and popular piece is a(]mirably suited to amateur players, by whom it has been 
often given during the last few years. Its story is strongly sympathetic, and its 
comedy interest abundant and strong. (1893.) 

XHE TIMES I A Comedy in Four Acts. By Arthur W. Pinero. Six 

^ j male and seven female characters. Scene, a .single ele- 

""""""■ " gant interior; costumes, modern and fashionable. An 

entertaining piece, of strong dramatic interest and admirable satirical humor. 
(1892.) * 

THF "VXTFAfrFP QFIT I a Comedy in Three Acts. Bv Arthur 
xxxj.^ wx^rvJVi:JX OIL^V » j ^ Pixero. Eight male and eight female 
. characters. Costumes, modern : scenery, 

two interiors, not difficult. This very amusing comedy was a popular feature of 
the renertoire of Mr. and INIrs. Kendal in this country. It presents a plot of 
strong dramatic interest, and its incidental satire of " Woman's Bights" em- 
plovs some julmirnbly humorous characters, and inspires many very clever lines. 
Its leading characters are unusually even in strength and prominence, which 
makes it a very satisfactory piece for amateurs. (1S94.) 



LIBRARY OF CONGRESS 




jl IVfEW OPERETTAS FOR CHILDREN. 

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I ODD OPERASMEVEN TIDE. 



EDITH'S DREAM, 

Sn ©pcretta for Cbiltfreu, 

Words by MARGARET FEZANDIE and EDGAR MORETTE. 
Music by EUGENE FEZANDIE, Jr. 



Eleven characters, girls and boys, or all girls, as preferred ; ten or more addi- 
tional tor cliorus. Scenery unnecessarv ; costumes, pretty and fanciful, but 
easily arranged at borne, this admirable little piece is printed complete with 
music. It is very tuneful and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is particularly well suitetl for the latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
liowever, an excellent moral. 



Price 



35 cents. 



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A Collection of Short and Simple Musical 
Entertainments for Children. 

' By MRS. G. N. BORDMAN. 



This collection provides a siniple operetta, a fairy opera, a picturesque motion 
cong a quaint musical )iantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful and simple, and is specially written 
with the tastes and Hmitations of children in view. The solos are easily learned 
•indsun<' ahd all the ('liornses are written for voices in unison. The collection 
IS strongly recommendeil for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without tronble'by the equii>ment of the ordinary ball or church vestry, and the 
zeal of the most economical committee of arrangements. 

Price ..... 50 cents. 

CONTENTS. 






A Glimpse of the Brownies. A 

INl usicii! Sketch for Children. Any 
number ol boys. 

Market Day. An Operetta for Young 
People. Seven speakiiig parts and 
chorus. 

Queen Flora's Day Dream. An 

Operetta for Children. Six speak- 
ing parts and chorus. 



The Boatinjr Pat-ty. A Musical 

Sketch for Little Children. Thirty 

boys and girls. 
Six Little Grandmas. A Musical 

Pantoinline for very Little Children. 

Six very little girls. 
Jimmy Crow. A llecitation for a 

JLittleOiil. 
A IToiiso in the Moono A Kecit.i- 

tiou fi>r a Child. 



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